Tag Archives: Masaki Kobayashi

The Human Condition I: No Greater Love is about, you guessed it, the human condition and the problems with being a humanist when you’re working in a foreign country your country has invaded and occupied. The film takes place in 1943, in Japanese-controlled Manchuria. It’s a desolate spot, but lead Nakadai Tatsuya doesn’t want to go to war and the assignment lets him get out of the draft and he gets to marry his sweetheart, Aratama Michiyo.

These developments occur in the first fifteen minutes of Love, which runs three and a half hours. They should be important in establishing Nakadai and Aratama, but really it just shows the actors to have very little chemistry and very poorly written roles.

Director Kobayashi doesn’t bring much to film (he also cowrites the overcooked screenplay); he can’t direct the actors, wherever they shot on location adds all the tone and, even though Miyajima Yoshio’s photography is good, it’s clear the weak composition is holding it back.

Love is a historical melodrama. The cast is huge, nothing good ever happens to anyone, but it’s also a political melodrama and Kobayashi doesn’t like subtlety. At all. The film runs head first into any place it can make commentary–racism, classism, sexism–and leaves the characters racing to catch up.

At least they’re running through gorgeous landscape.

Yamamura Sô gives the best performance as Nakadai’s sidekick. The rest of the performances are, graciously put, thin.

Love avoids every interesting possibility and embraces every predictable.

★

CREDITS

Directed by Kobayashi Masaki; screenplay by Matsuyama Zenzô and Kobayashi, based on the novel by Gomikawa Jumpei; director of photography, Miyajima Yoshio; edited by Uraoka Keiichi; music by Kinoshita Chûji; production designer, Hirataka Kazue; produced by Wakatsuki Shigeru; released by Shochiku Company.

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La Haine (1995, Mathieu Kassovitz)-Mostly outstanding night in the life picture about three young men, one White (Vincent Cassel), one Black (Hubert Koundé), and one Arab (Saïd Taghmaoui); the city is rioting after police assault one of their peers. Writer-director Kassovitz never gets preachy, impressive given it's shot in atmospheric black and white, but he does get predictable, constraining the narrative a tad much. Excellent work from Koundé, with Cassel a strong second.
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